Crafting an album that's bold and expansive but manageable and narratively sound is no easy task, and that's exactly what AU have done.

All in all, Nothing's Gonna Change The Way You Feel About Me Now is a good record, but it's not success it could have been as the songs are not as strong as one would have hoped.

Boys & Girls is a short album that clocks in at 35-minutes over the course of 11 songs. But by the time it's done, you'll want to start it over again.

It's just a Hot Chip side project that sounds like a Hot Chip side project, and there's nothing wrong with that, but nothing terribly exciting either.

Leaving Atlanta is far from a perfect record - there is not anything approaching 'classic status' on it – but it is a very fine one, and certainly one of the best we will see in its genre this year.

The Italian duo have put together a timeless and beautiful dance record that slides easily to the top of 2012′s best.

For all its gorgeous expansiveness and new perspectives, it never comes together to be incisive or essential.

awE naturalE is at least a great, deep listen, and all that THEESatisfaction has done to challenge the listener warrants serious admiration.

If the album in its entirety feels open-ended, well, that's because it is, but by any measure Family Perfume is a pleasantly disarming ride, loaded with great, barely noticeable moments.

Brilliantly sequenced and realised though it is, the album only just manages to keep the attention for its 54 minutes, meaning first-time listeners could be put off by the sparse arrangements and slow pace.

It's not that this material is any less challenging than anything that The Books did, it's just infinitely more memorable on a first listen.

Races' debut is a powerfully tenacious effort.

If I don't revisit it, (and I might not, because it wasn't exactly mind-blowing), I appreciate it for at least being a pleasant listen.

Their identity is hard to peg, and its just this that allows the music to completely possess the forefront, that makes it such an engaging, entertaining, and, perhaps most significantly, fascinating listen.

Ugly is so rich, so dense, so full that you forget there's just three of them.

All ten of the songs here are grandiose and muscular in the great tradition of Spiritualized songs.

Without a dull moment in sight, Reep has succeeded in creating something of an ethereal masterpiece.

Mixed Emotions seems served just too late, and comes off as regrettably stale.

The change-ups between choruses and verses are less rote, and along with Goodman's ability to write good hooks, there isn't too much that gets in the way.

I'd say that MDNA is at the very least "not bad," but frankly, it's worse than bad: it's mediocre.

There are occasions in the album's 45 minutes that are pretty good.

It's as if you chucked the lot into a tumble dry and waited to see what came out, ultimately ending up with something completely different.

Ghosts, Monolake's eighth record, is one of his most approachable and organic outings to date.

This new collection is most certainly not a pinnacle for the group, but it is a welcome rekindling of the same spirit and sonic magnitude that fueled their last undisputed gem, 2005′s Frances the Mute.

Beal appears determined to make his debut as inaccessible as possible. Intentionally crappy instrumentation holds the album back, stealing the focus from what is an incendiary voice--a lot of casual fans will be dumbfounded by this grating, uneasy listening.

It sounds like fun; precisely what the Odd Future discography has been lacking lately.

It's comfortably K.R.I.T., neither venturing beyond the most basic facets of his developing sound, nor sinking below the standard he's set.

There is much one could say about how this EP compares to Rossen's past projects since that's all he's delivered to us, but he deserves more than that after accomplishing a great EP by himself.